The Introduction of the Uniform Melody Promoted by Sir Li, Bing-Nan in Latest Tang Poems

[[abstract]]近體詩的吟唱法目前在台灣所流傳者，多為民間詩社或各地所傳唱的吟腔，至於用「固定調」方式來吟唱近體詩的卻很少見。本文特別介紹李炳南先生所傳唱的近體詩「固定調」吟唱法，分析其唱譜與近體詩格律之間的關係，並引證大陸地區相關學者的研究論點，進行考察比對，歸納出其特點有三：一、「平長仄短－吟誦的節拍長短隨詩句的平仄和音節而變化」，二、「平低仄高、平直仄曲－吟誦的音符旋律隨詩句的平仄而高低升降」，三、「運用轉調以增加音域變化」。這種「固定調」的吟唱法有其保存與傳揚的價值，值得進一步推廣宏揚。[[abstract]]The melodies used to chant the latest poems in Tang dynasty vary among local poem societies in Taiwan. However, it is relatively rare to use 'uniform melodies' to sing latest poems. This article introduces the 'uniform melodies' promoted by Sir Bing-nan Li as well as analyzing the coordination between melodies and tone schemes (tone rules) of latest poems. Also it compares the points argued by scholars from mainland China with the one promoted by Li. There are three points induced here. First, more beats for even tones and less beats for oblique tones, i.e. the number of beats of each word varies according to syllables of words and tone schemes in sentences. Second, lower pitch for even tones and higher for oblique tones, i.e. the melody raises or lowers according to the tone scheme in a sentence. Third, the use of modulation to increase the pitch range of the melody. The way to use 'Constant melodies' to chant poems is worth preserving and promoting in the forthcoming future